Sadler's Wells Annual Report 2014 - 2015

Annual Review 2014–15

Contents

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Chairman’s Message Chief Executive and Artistic Director’s Message Highlights 2014–15 Working with Artists Producing and Presenting Great Dance Touring Locations Sadler’s Wells Touring 2014–15 Nurturing Talent Artist Development National Youth Dance Company New Wave Associates Summer University Wild Card Engaging Audiences Creative Learning and Community Engagement Reaching our Audience Making it Happen Fundraising Visitor Services and Operations How we are Funded Financial Performance S adler’s Wells Trust and Foundation, Artists and Companies, Co-producers Support Sadler’s Wells Staff Photography Credits

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Chairman’s Message

The last year has been a remarkable one at Sadler’s Wells for many reasons.

We celebrated the 10th anniversary of Alistair Spalding’s tenure as Chief Executive and Artistic Director — a period that has seen Alistair lead his dedicated staff and our associate artists and companies to transform Sadler’s Wells into a producing, as well as a receiving, theatre where talent is nurtured and audiences are inspired and informed. A decade later, Sadler’s Wells has become the UK’s leading dance house and a thriving place where artists come to train, collaborate, create and present innovative work for the public to enjoy.

We commissioned, produced and presented a vast array of productions across our three London venues and toured many of our shows in the UK and abroad.

I would like to highlight a special occasion we marked on 14 September, when one of our very first productions, PUSH, choreographed by Russell Maliphant and danced by him and Sylvie Guillem, ended its 10-year tour with a final performance in Taipei, Taiwan. The show travelled to four continents — Europe, North America, Asia and Australia — playing sell-out seasons and reaching an international audience of over 161,500.

We continued to meet our commitment to artist development through our hosting of the National Youth Dance Company, programming of the Wild Card series, supporting of six New Wave Associates and running of Summer University.

The fact that, in what remains a challenging economic climate within the arts sector and beyond, we managed to foster creativity and innovation in dance and, at the same time, offer an artistic programme that is both critically acclaimed and attractive to a wide public, is a testament to both the hard work of all staff and artists involved and the ongoing, enthusiastic support of our audiences, friends and partners. I want to extend a personal thanks to all of you for sustaining Sadler’s Wells as a world-leading creative powerhouse for dance.

Sir David Bell

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Chief Executive and Artistic Director’s Message

Sadler’s Wells was buzzing with excitement and activity throughout 2014–15. We were busy commissioning and producing new work, forging new relationships and engaging new and existing audiences with dance through performances as well as talks, workshops and events.

Independently or with co-production partners, we commissioned 21 dance works, most of which were created by our Associate Artists or New Wave Associates. These brought the number of new works Sadler’s Wells has helped bring to the stage in the last 10 years to well over 100.

Our major production was Thomas Adès: See the Music, Hear the Dance, featuring short pieces by Wayne McGregor, Karole Armitage, Alexander Whitley and Crystal Pite. The composer-led evening was as much a showcase for the choreography of the dance-makers as it was for the powerful music of Adès, whose absolute commitment to the project saw him on stage throughout the performance, either playing the piano or conducting the Britten Sinfonia live.

We appointed English National Ballet as our first Associate Company; together, we aim to develop contemporary ballet. As part of our partnership, the company now presents a programme of work in two annual seasons at Sadler’s Wells, in the spring and autumn of each year; we will also co-produce original work.

As part of our ongoing commitment to promote diversity in dance, in September we launched the biennial Elixir Festival, focused on lifelong creativity. Featuring a one-day conference and six performances, the event triggered debate on the issue of age in dance, examining the contribution to the art form made by the older dancer and advocating the creation of more work for them.

Another highlight of the year was the record number of audiences that saw our productions on tour: a total of 166,854 people (a 27.5% increase compared to 2013–14), who attended one of 216 performances given in 78 cities or towns in the UK and overseas.

We managed to do all of this and to reach our audience and financial targets for the year, which took into account a six-week dark period to allow essential refurbishment work to be carried out.

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Our plans to open a new mid-scale theatre in east London moved one step closer to being realised with two key developments. In December 2014, the government confirmed funding in support of the Olympicopolis project in the Queen Elizabeth Olympic Park, where our new space will be part of the Cultural and Education Quarter. In May this year, the London Legacy Development Corporation (LLDC) announced the winners of the competition to design the Stratford Waterfront site, which will house our venue and premises for the Victoria and Albert Museum, the London College of Fashion and a fourth partner, most likely the Smithsonian Institution.

We are now working with the appointed design team, including architecture firms Allies and Morrison and O’Donnell + Tuomey, LLDC and our partners to finalise the masterplan for the project. It is the ideal opportunity for us to respond to the public’s increasing appetite for dance and to place the art form at the heart of both a vibrant local community and a global cultural hub.

None of what we do would be possible without the passion and hard work of our staff and trustees, the backing of our loyal audiences and the generosity of Arts Council England and many individuals, trusts, foundations and companies that support our work. My sincere thanks go to all of you.

I look forward to another year of achievements for us to share.

Alistair Spalding CBE

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Highlights 2014 – 15

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65,803

performances to audiences of 471,519 in London

people came to see New Adventures’ Edward Scissorhands, with the theatre reaching 90% capacity. Many of Sadler’s Wells’ other associate artists and companies also attracted large audiences, with over 90% attendance for performances by Akram Khan, BalletBoyz, Sylvie Guillem and Wayne McGregor l Random Dance

166,854 people saw 216 performances of 15 Sadler’s Wells’ productions that toured to 78 cities in the UK and overseas

208 artists, performers and technicians engaged over the year through producing and touring work

11,213 tickets sold when the Spring/ Summer 2015 Season went on sale on 10 November 2014 — the highest number of tickets ever sold

by Sadler’s Wells in one day

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2,400 people attended the first Elixir festival celebrating lifelong creativity. The event included performances, talks, workshops, professional development opportunities and an international conference

15 dance artists graduated from the first Summer University, 2010–14. Sadler’s Wells also continued to support artist development through two important initiatives, New Wave Associates and Wild Card

16,400 attendances to Creative Learning activities and events

11,000 people saw the National Youth Dance Company perform Akram Khan’s The Rashomon Effect/ Vertical Road across the UK

196,364 tickets sold at a discounted rate, i.e.

41.6% of all tickets sold. Sadler’s Wells also continued to offer 10% of tickets for most main house performances at £12

3,888

13,000 people saw Breakin’ Convention on tour in nine venues across the country. 44 UK companies and 142 regional artists took part. The hip hop festival connected to a further 20,700 people through its lead-up activities

1,513,919 views of Sadler’s Wells’ videos throughout the year: 702,308 on the website and 811,611 on YouTube

19% reduction in electricity usage achieved following Sadler’s Wells’ completion of the first phase of its capital refurbishment to increase its resilience and sustainability

people enjoyed the 11th edition of Breakin’ Convention at Sadler’s Wells and 2,800 people joined the second, free Park Jam in Spa Fields, Islington

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Working with Artists

Producing and Presenting Great Dance

As ever, Sadler’s Wells’ artistic programme in 2014–15 was a direct reflection of our ongoing commitment to present the best dance from around the world, in addition to our own productions and co–productions, the majority of which involve our Associate Artists.

We supported and co–commissioned the work of many choreographers and presented new work

by Akram Khan, BalletBoyz, Russell Maliphant and Sidi Larbi Cherkaoui. In February, we celebrated the special relationship we enjoy with our artists by staging The Associates, a triple bill featuring new works by Hofesh Shechter and Kate Prince and Tommy Franzén, as well as the UK premiere of duet A Picture of You Falling by Crystal Pite.

“Exactly what, in a better world where creativity is the result of serious thought rather than witless opportunism, danced innovation should admirably be.”

Clement Crisp, Financial Times, on Thomas Adès: See the Music, Hear the Dance

The most significant producing achievement of the year was creating Thomas Adès: See the Music, Hear the Dance, the second show in our Composer series. The mixed bill included two revivals and two original pieces: the European premiere of Outlier by Associate Artist Wayne McGregor, Karole Armitage’s duet Life Story, New Wave Associate Alexander Whitley’s new commission The Grit in the Oyster and the world premiere of the epic Polaris by Associate Artist Crystal Pite. The programme saw Adès playing the piano and conducting the chamber orchestra Britten Sinfonia, and over 150 dancers and musicians performing on stage during the evening.

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We were delighted that Crystal Pite went on to win the Outstanding Achievement in Dance Award at the 2015 Laurence Olivier Awards ceremony for her choreography of The Tempest Replica, presented in April 2014, A Picture of You Falling and Polaris at Sadler’s Wells.

In its first season as our Associate Company in March this year, English National Ballet performed Modern Masters: Icons of 20th Century Choreography, a new triple bill featuring works

by William Forsythe, John Neumeier and Jiří Kylián.We continued to bring important contemporary works from Europe to our stage: throughout 2014–15, our audiences were treated to the thought–provoking work of Olivier Dubois, Alain Platel, Jérôme Bel, François Chaignaud and Cecilia Bengolea and Anne Teresa De Keersmaeker.

“A shot of pure adrenalin.”

Mark Monahan, The Telegraph, on Modern Masters

In autumn 2014, we hosted Northern Light, a festival of outstanding dance work from Nordic countries. As well as featuring one of the giants of dance, Mats Ek, with his major production of Juliet & Romeo — created for the Royal Swedish Ballet and winner of the Best New Dance Production award at the 2015 Laurence Olivier Awards — we presented leading choreographers and companies from Denmark, Finland, Iceland, Sweden and Norway.

A new initiative running throughout the year was =dance, a programme showcasing innovative work created and performed by deaf and disabled artists and inclusive companies. Stopgap, Candoco and Magpie Dance were among the artists we presented.

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Productions that brought families to watch and explore dance together this year included balletLORENT’s Rapunzel and London Children’s Ballet’s Nanny McPhee. Arthur Pita’s charming The Little Match Girl won the hearts of young Christmas audiences, who also came to the theatre in large numbers to enjoy Matthew Bourne’s Edward Scissorhands and evergreen production The Snowman.

The Peacock’s varied programme, including Bollywood, hip hop, circus and salsa, continued to attract wide audiences: 197,433 people, 42% of our total London audiences, visited the theatre in 2014–15. Argentinian dance company Tango Fire won Theatre Production of the Year at the Latin UK Awards (LUKAS) ceremony in May for their popular show Flames of Desire, presented at The Peacock earlier in the year.

Working with partners and other venues is a crucial part of our engagement in the broader national arts community. In summer 2014, we curated the dance programme at the Latitude festival in Suffolk for the seventh year running, while throughout the year we programmed shows at the London Coliseum and the Platform Theatre, and co–presented work with London International Mime Festival, Spitalfields Music Festival and LIFT. We continued to build partnerships with regional venues in order to reach as broad a range of UK audiences as possible. We toured Fabulous Beast’s The Rite of Spring & Petrushka, m¡longa, Still Current, 6000 Miles Away, National Youth Dance Company’s The Rashomon Effect / Vertical Road and Breakin’ Convention, which went to nine regional venues thanks to a Strategic Touring grant from Arts Council England. This international festival of hip hop dance theatre engaged an audience of 13,000 — including 44 UK companies and 142 regional artists who participated in the tour — and connected to a further 20,700 people through its lead–up activities.

“Some of our bigger houses should look to the example of Sadler’s Wells, which has started to build a programme of commissioned work for children and family audiences that runs throughout the year and not just at Christmas. […] The fact that Sadler’s Wells is commissioning is important because it means that artists are genuinely invested in the work they are making. ” Lyn Gardner, The Guardian

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Sadler’s Wells’ national touring programme was recognised in September 2014, when it won the Renee Stepham Award for Best Presentation of Touring Theatre for “its wide diversity of touring work and range of venue partnerships” at the UK Theatre Awards.

Our international touring went from strength to strength. m¡longa had its most prolific touring year to date with 53 performances given in 10 different countries, including the prestigious Sydney Opera House. Cuban dance production Havana Rakatan reached a historic milestone by making its US debut in New York. Seven years since it was first performed, Sutra made a stop in St Petersburg and Taiwan, where it was performed to huge acclaim. Still Current undertook major tours in Russia and the Middle East. Russell Maliphant Company represented British dance at the UK Trade & Industry’s GREAT campaign conference in Shanghai; and 10 more of our productions toured to some of the most prestigious art houses and festivals across the globe.

The year ended with the world premiere of Life in Progress, Associate Artist Sylvie Guillem’s final programme, at Teatro Comunale di Modena, Italy, on 31 March. Featuring new work by Akram Khan and Russell Maliphant alongside existing work

by William Forsythe and Mats Ek, the production marks Guillem’s farewell to the stage following an illustrious dancing career spanning 35 years.

Touring Locations UK & Ireland Ballina, Ireland Belfast, Northern Ireland Birmingham, England Blackpool, England Bournemouth, England Brighton, England Bristol, England Cardiff, Wales Carrick–on–Shannon, Ireland Cork, Ireland Cornwall, England Coventry, England Doncaster, England Dublin, Ireland Eastleigh, England Ennis, Ireland

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Inverness, Scotland Ipswich, England King’s Lynn, England Letterkenny, Ireland Limerick, Ireland London, England Navan, Ireland Nottingham, England Newcastle, England Oxford, England Plymouth, England Portlaoise, Ireland Salford, England Sligo, Ireland Surrey, England Whitley Bay, England

Europe Arcachon, France Annemasse, Switzerland Bern, Switzerland Carcassonne, France Chalon–en–Champagne, France Clemont–Ferrand, France Dusseldorf, Germany Frankfurt, Germany Freiburg, Germany Fribourg, Switzerland Istanbul, Turkey Kaserne, Switzerland Kazan, Russia Koln, Germany Leipzig, Germany Luxembourg City, Belgium

Modena, Italy Montbeliard, France Moscow, Russia Munich, Germany Parma, Italy Sainte–Clotilde, France St–Petersburg, Russia St. Pollen, Austria Stockholm, Sweden Vaison–la–Romaine, France Voronezh, Russia Wolfsburg, Germany Yekateringburg, Russia Zug, Switzerland Zurich, Switzerland

Rest of World Amman, Jordan Beirut, Lebanon Houston, USA Kaohsiung, Taiwan Montreal, Canada New York City, USA Ottawa, Canada Portland, USA Quebec City, Canada Ramallah, Palestine Sydney, Australia Taipei, Taiwan Washington DC, USA

Sadler’s Wells Touring 2014–15

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Nurturing Talent

Artist Development

We believe that the future of dance as an art form relies on nurturing the new and emerging artists of today. This is why Sadler’s Wells offers young and early-career performers and dance makers training, support for creative projects and valuable networking and professional development opportunities with peers, established artists and industry mentors.

National Youth Dance Company Sadler’s Wells’ work preparing the next generation of dance talent continued throughout 2014–15.

Following an intensive training and development programme the previous year, the National Youth Dance Company’s 2013–14 cohort premiered Akram Khan’s The Rashomon Effect / Vertical Road on Sadler’s Wells’ main stage in April 2014, before embarking on a successful national tour.

“Working with all these incredible people has given me more opportunity to explore myself within dance and in everyday life.”

Lloyd Lovell, dancer, NYDC 2014–15

The young dancers performed in 10 different venues in the UK to an audience of over 11,000.

Highlights included performances at the Commonwealth Youth Dance Festival in Glasgow and the Latitude festival in Southwold, Suffolk, as well as a speech given by the dancers to members of the All–Party Parliamentary Dance Group at their Annual General Meeting at the Houses of Parliament. Their talk focused on their experience in the company and what they had learned through their participation in the programme.

At the same time, Sadler’s Wells was on the hunt for NYDC’s third cohort. To find suitable candidates, we led 22 experience workshops for 500 participants in 14 towns and cities across the country. The incoming Guest Artistic Director, choreographer Sidi Larbi Cherkaoui, selected 30 new dancers to join the company and worked with them during three intensive residencies to create a new production, Frame[d], to premiere in April 2015.

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New Wave Associates The New Wave Associates programme supports promising artists in the early stages of their career by providing them with tailored support and commissioning them to create new work to be performed at Sadler’s Wells. Supported by the Esmée Fairbairn Foundation, the scheme offers research time, professional guidance and networking opportunities, as well as rehearsal space and technical resources.

For the first two years since its launch, the scheme supported three UK-based and three international dance artists. In December 2014, the second phase of the programme began, focusing on enhanced support for the three UK artists, Wilkie Branson, Hetain Patel and Alexander Whitley, for an additional three years. We continue to develop the relationship with the international artists in a variety of other ways: China’s TAO Dance Theatre performed their work 4 & 5 in the Lilian Baylis Studio in June 2014 and we co-presented their production 6 & 7 on Sadler’s Wells’ main stage in October, in partnership with Dance Umbrella.

Hetain Patel’s solo American Boy premiered in May and was well received by critics and audiences alike; it subsequently toured in the UK. Wilkie Branson reworked his children’s production Varmints, a collaboration with theatre director Sally Cookson based on Helen Ward’s award-winning book, for our Family Weekend. We supported Alexander Whitley in his research for The Grit in the Oyster, his contribution to the Thomas Adès: See the Music, Hear the Dance programme, which premiered in autumn 2014.

“As a dancer that had limited connections to the industry, the value of this relationship is great to me. I feel as if being a New Wave Associate gives me something of a home at Sadler’s Wells and the value of this extends beyond the production and mentoring support it gives. I have never felt truly endorsed as a part of the dance sector, but this position gives me the feeling that I belong to something.”

Wilkie Branson, New Wave Associate

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Summer University Launched in 2010 through an open call, Sadler’s Wells’ Summer University aids the development of professional dance artists eager to further their practice. Directed by choreographer Jonathan Burrows, the programme offers 15 dance professionals the opportunity to take part in a four-year project delivered over two weeks each year, when participants share work, hear talks, explore methodologies and philosophies of performance making and extend their own practice through self-study and focused interventions.

Supported by the Jerwood Charitable Trust and the Leverhulme Trust, the course is free to join and is designed for dance makers and artists involved in the performing arts, who are interested in choreographic practice and the possibilities of dance as an art form. They must be based in the UK and have up to five years of professional experience.

Summer 2014 saw the first group of artists attend the final two weeks of the programme.

To mark the end of the course, the 15 artists went together to ImPulsTanz - Vienna International Dance Festival in Austria, where they had the chance to see cutting-edge work and take part in a week of workshops across different styles and choreographic practices, organised by DanceWEB as part of their Scholarship Programme.

The Summer University graduates (2010–2014) are: Amy Bell, Wilkie Branson, Valentina Golfieri, Danya Hammoud, Vicki Igbokwe, Melanie Ingram, Jamila Johnson-Small, Gillie Kleiman, Cameron McMillan, Hemabharathy Palani, Hetain Patel, Efrosini Protopapa, Lorena Randi, Matthias Sperling and Alexander Whitley.

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Wild Card Since January 2013, Wild Card has opened the doors of the Lilian Baylis Studio to a new generation of dance makers and producers, offering fresh perspectives on the art form to Sadler’s Wells’ audiences and a platform for lesser known dance styles and artists who are working in innovative ways. Presenting two shows each season, the initiative enables artists to curate an evening from scratch, showcasing work that excites them alongside their own, fully supported by our professional teams. Backed by the Andrew Lloyd Webber Foundation, the Eranda Foundation and the Garrick Charitable Trust, Wild Card has proved increasingly popular with both artists and audiences since its inception.

“What was most helpful was to have someone trust in your ability. When I accepted I didn’t know what I was going to do but that was okay. I liked the trust the team at Sadler’s Wells gave me.”

Vicki Igbokwe, Wild Card dance artist

In September 2014, dancer and choreographer Seeta Patel brought dance from South India to our stage with Something Then, Something Now, an intimate Bharatanatyam solo performance set to the music of a live Carnatic orchestra. In November, choreographer Neil Callaghan curated an evening of experimental European dance focused on transformation, with contributions from choreographers Mette Ingvartsen and Jeremy Wade. Spring 2015 saw Tim Casson & friends present a playful evening of exciting collaborations, including Fiend, a creation inspired

by Nijinsky’s ballet Afternoon of a Faun and employing digital manipulation of live video to allow Casson to dance with multiple digital replicas of himself. Finally, Katye Coe’s Preparation placed improvisation and philosophy centre stage in a carefully curated experiment with dance artist Charlie Morrissey and sound artist Graeme Miller.

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Engaging Audiences

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Creative Learning and Community Engagement

The Creative Learning department offered a varied range of opportunities to over 10,000 people, who were able to watch, take part in and critically explore Sadler’s Wells’ programme.

Notable projects in 2014–15 included the final year of DanceQuest, a three-year project running in north London secondary schools, and Lord of the Flies, a unique collaboration with Matthew Bourne’s New Adventures. We led an extensive outreach programme in connection with the production, involving 950 boys and young men across London; out of this group, a 22-strong cast of 10 to 23 year-olds from all backgrounds was selected to perform alongside professional dancers in Bourne’s acclaimed dance drama based on William Golding’s novel.

“So many of the pupils just don’t get the opportunity to come to any kind of theatre like this and experience top quality dance, so their excitement is 100% real.”

Sonia Bardouille, Deputy Head teacher, Gladesmore Community School

Our community engagement projects continued to extend our reach to diverse, under-represented local audiences in Islington. In September 2014, we launched a new Associate Schools programme to support five of the borough’s schools that have the least access to highquality arts. The scheme offers opportunities for pupils and their families to discover Sadler’s Wells through workshops and performance visits, and begin to connect with the vibrant cultural landscape in London. We designed a bespoke programme in collaboration with staff in each school to stretch pupils’ skills and link to classroom learning.

The first Elixir festival, which ran from 12 to 15 September 2014, celebrated older dancers and creativity in later life. Supported by The Baring Foundation, the event featured performances by iconic dancers such as Mats Ek, Ana Laguna, Dominique Mercy and Sadler’s Wells’ Company of Elders, as well as a specially commissioned piece by acclaimed choreographer Jonathan Burrows.

Complementing the main stage performances was a tailored learning programme including talks, workshops, professional development opportunities and an international conference.

Fifty older artists and community companies applied to perform, resulting in studio theatre performances representing work from across the UK and abroad. Over 2,400 people attended the festival in all.

During the year we presented a number of postshow talks, learning and professional development opportunities to accompany =dance, a strand of work highlighting outstanding productions from deaf and disabled artists and inclusive companies.

The events attracted young dancers, emerging artists and new audiences.

As an Arts Council’s Associate Bridge organisation, we worked with the Mayor of London’s Education team to develop an accessible and inspiring online dance resource for the London Curriculum; we conducted a research project to interrogate the impact of dance initiatives in five east London primary schools; brokered a new children and young people’s dance strategy with the Pan-London Dance Partnership; and test-drove imaginative approaches to the delivery of Arts Award qualifications.

As part of our efforts to champion public engagement in dance, in summer 2014 we took part in the biennial Big Dance festival. Our Big Dance Week 2014 events programme included a Big Dance Pledge flash mob that animated Sadler’s Wells’ foyers on 16 May. It also featured The Arts Picnic, a family-friendly, free event in Spa Fields in Islington, organised in partnership with Cubitt Art Gallery, Islington Council and Wayne McGregor | Random Dance on 12 July, which involved over 2,000 local people.

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Reaching our Audience

In November 2014, an announcement at our annual press conference grabbed front-page headlines: our Associate Artist Sylvie Guillem announced that she would present a new dance programme, Life in Progress, at Sadler’s Wells in May 2015, as part of a farewell tour around the world before hanging up her shoes after her 35-year career. The response from our audiences was phenomenal: when our Spring/ Summer 2015 season went on sale, we sold our highest ever number of tickets in one day, breaking all previous records. We were equally pleased with the popularity of our Christmas season, which saw the festive shows in our three theatres delight audiences of all ages.

Things have changed immeasurably at Sadler’s Wells since Sylvie first arrived on our stage in 2004. To reflect these changes, and especially the close creative relationship we have developed through the years with the artists we support and promote, we refreshed our brand. Following thorough consultation, the values and vision of Sadler’s Wells were embodied in a new visual identity, which conveys a strong sense of who we are today with simplicity and immediacy.

Our style is to be direct and honest about what people will experience at Sadler’s Wells and the introduction of a new Customer Relationship Management (CRM) system is allowing us to develop ever more personalised communications with our audiences.

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We also reach people through the online content we present relating to our artistic programme, which is available for everyone to enjoy and share.

This includes backstage photos, trailers and short documentaries featuring the creative teams.

In 2014–15, we increased the number of videos on our YouTube channel by 162%. By curating this channel and enhancing it with constantly updated videos and playlists, we are able to convey different aspects of each production.

Our playlists have proved so popular that the number of their views has increased by 794% in the last year. The video views on our website have also increased by 30%. On our social media platforms, we saw equally significant increases, with 13% and 28% increases in followers on our Twitter and Facebook accounts respectively.

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Making it Happen

Fundraising

Sadler’s Wells has a committed and enthusiastic group of supporters and partners, including individual donors, companies, trusts and foundations. Thanks to their generosity, in 2014–15 we raised over £1.4 million, which went towards supporting our work on and off the stage – from presenting new productions to developing talent and delivering education projects.

Help from our supporters is critical to our ability to produce original work, so we were delighted that The Monument Trust renewed its commitment to support our new commissions by pledging a further three years of investment. Among the new creations the trust helped to bring to our stage in 2014–15 are TOROBAKA, a collaboration between Associate Artist Akram Khan and flamenco dancer and choreographer Israel Galván, and Young Men

by BalletBoyz, a moving production exploring the brutality of war and its effects on young soldiers.

The Contemporary Ballet Circle continued to raise important funds towards the presentation of contemporary ballet that pushes the form’s classical boundaries. Their donations supported the Royal Swedish Ballet’s performances of Juliet & Romeo choreographed by Mats Ek and Sadler’s Wells’ main production, Thomas Adès: See the Music, Hear the Dance, which featured works created by Karole Armitage, Wayne McGregor, Crystal Pite and Alexander Whitley.

“We are proud to support Sadler’s Wells’ work to encourage audiences to experience dance through Sadler’s Sampled. The opportunity offered by the festival to attend performances by world-class artists and companies at low prices sends the clear, inclusive message that dance is for everyone. It is a brilliant way to engage new audiences and invite existing ones to try something different from what they would normally come and see.”

Dorothée Irving, Grants Manager, Paul Hamlyn Foundation

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Many of our individual donors joined the new Sylvie Guillem Circle to support the creation and tour of our Associate Artist Sylvie Guillem’s final programme, Life in Progress. The Deborah Loeb Brice Foundation also backed the production with a substantial amount. Our hotel partner Radisson Edwardian Group supported Life in Progress’s run at Sadler’s Wells.

A highlight among our events this year was the Gala performance in November 2014 of Sacred Monsters, the acclaimed collaboration between Akram Khan and Sylvie Guillem. The evening included a private dinner with the artists in one of our studios after the performance. The event raised vital funds towards our investment in artists and new commissions.

The Esmée Fairbairn Foundation continued to support us in nurturing the next generation of dance artists by confirming they will back our New Wave Associates programme for three more years, while the Jerwood Charitable Foundation, who supported Sadler’s Wells’ Summer University in 2010–14, pledged funds towards the first year of the course’s second edition in 2015–16. Our Wild Card initiative, focused on emerging and earlycareer dance artists, was backed for a second year by the Andrew Lloyd Webber Foundation, while The Baring Foundation committed to supporting the Elixir festival for three years.

Among our valued long-term partners, we were delighted Bloomberg renewed their support as corporate members, Clifford Chance continued to kindly provide us with legal advice and American Express confirmed their support for Sadler’s Sampled, our festival of world-class dance at affordable prices, in 2016–17.

Finally, as a National Portfolio Organisation, funding from Arts Council England remains fundamental to the health of our business model.

Their grant in 2014–15 represented 10% of our annual income. We are grateful to them and all of our supporters.

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Visitor Services and Operations

Since the present theatre building in Rosebery Avenue opened in 1998, Sadler’s Wells has welcomed over 4.5 million audience members and many hundreds of dance companies. In summer 2014, we closed for six weeks to undertake the first phase in our repairs and refurbishment programme, which had become necessary after 16 years of year-round operation. We are grateful to Arts Council England, the Fidelity UK Foundation, the JP Getty Jnr Charitable Trust, The Linbury Trust and The Wolfson Foundation, who made this work possible through major support.

“Today I booked some tickets over the phone and, not for the first time, your staff were unfailingly helpful, polite and patient as I dithered about what seats to choose. […] Your staff, across the whole experience — box office, ushers, bar staff etc. — are consistently delightful.”

Melissande, Sadler’s Wells’ visitor

Overall, the programme of works focused on building our resilience: we replaced worn equipment and fabric; improved sustainability by installing more energy-efficient equipment; enhanced our marketing and audience development through the installation and implementation of a new Customer Relationship Management system and online interface; and made improvements to access.

Our main entrance was redesigned: a more prominent, accessible and energy-efficient entrance replaced the old sliding doors.

Our foyers were spruced up and energy-efficient lighting was installed. We re-upholstered seats in the stalls and first circle of the main auditorium and replaced the carpet. The induction loop in these areas was significantly upgraded. Many mechanical and electrical plant items were replaced and new photovoltaic panels installed, enabling us to generate electricity.

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There were also significant improvements to our technical infrastructure. The power-flying system’s controls and drives were replaced, a fibre optic network was installed and electrical dimmers controlling theatrical, auditorium and foyer lights were replaced. A new, energy-efficient LED house light system now illuminates Sadler’s Wells’ main auditorium.

Following completion of this first phase of work, initial measurements have shown a reduction in electricity usage of 19% compared with the same period the previous year, well above our target of 12%.

The Technical team managed an extremely busy year of productions in all three theatre spaces.

Commercial income through catering, events and front-of-house sales brought a £1.3 million net contribution, an especially strong performance considering the six-week closure period and well above our budgeted target.

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How we are Funded

15.4 %

10.1 %

5.8 %

68.7 %

Sadler’s Wells’ income 2014–15 Theatre presentations Trading Arts Council England Fundraising Our principal source of funding is the income generated from ticket sales and other show-related income. Our annual funding from Arts Council England is important to our long-term financial sustainability and in 2014–15 represented 10% of our income; this amounts to around £5 per seat.

The other sources of income are voluntary donations from individuals, corporate bodies, trusts and foundations, together with trading income derived from hiring out the spaces in the theatre complex. Income from presentations accounted for almost 69% of our revenue, with over 21% generated from trading and fundraising.

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Our unrestricted activities showed a net break even position, after transferring £306,000 to designated reserves for artistic projects in 2015–16. The theatre was closed for six weeks in summer 2014 for major refurbishment, leading to the drop in income and expenditure on presentations. We expect this income and expenditure to rise again in 2015–16.

Financial Performance

2013–14

2014–15

(£’000)

(£’000)

19,425

15,765

Trading and other

2,997

3,516

Unrestricted fundraising

1,325

1,322

Arts Council England

2,320

2,332

26,067

22,935

18,862

16,233

Theatre overhead

4,335

4,471

Trading and other

1,706

1,629

315

296

25,218

22,629

Gross Reserves Transfer

699

306

Net Surplus to General Reserve

150

0

Income Theatre presentations

Expenditure Theatre presentations

Fundraising

51

Sadler’s Wells Trust and Foundation

Sadler’s Wells Artists and Companies

Sadler’s Wells Trust Ltd

Sadler’s Wells Foundation

Chairman Sir David Bell

President Lady Solti

Directors Jules Burns Sue Butcher Marco Compagnoni Robert Glick Carol Lake Harry MacAuslan Tim Marlow Robin Saunders Sandi Ulrich Sanoke Viswanathan

Honorary Vice President Ian Albery Ian Hay Davison CBE

Associate Artists BalletBoyz® Matthew Bourne Sidi Larbi Cherkaoui Jonzi D Sylvie Guillem Michael Hulls Michael Keegan-Dolan Akram Khan Russell Maliphant Wayne McGregor Crystal Pite Kate Prince Nitin Sawhney Hofesh Shechter Jasmin Vardimon Christopher Wheeldon

Chairman Sir David Bell Directors Rab Bennetts OBE Josè Breña Celeste Fenichel Lesley MacDonagh Celia Rodrigues

Resident Companies New Adventures Wayne McGregor I Random Dance ZooNation Dance Company Associate Company English National Ballet

Honorary Members Valerie Colgan Robert Kahn Martin Klute Honorary Clerk Kathy Honeywood Clerk to the Foundation Alistair Spalding CBE

Sadler’s Wells Co-producers Sadler’s Wells would like to thank its UK and international co-producing partners, whose collaboration made it possible to create and tour work across the globe: Arts Council England’s Grants for the arts and Strategic touring programme Athens Festival BB Productions Beijing Morning Star Ballet Foundation Brisbane Festival China Shanghai International Arts Festival Congas Productions Dance Consortium Dance Festival Steps Dance Touring Partnership DanceEast Dell’Arte deSingel International Arts Campus Eastman Esplanade – Theatres on the Bay, Singapore Festival D’Avignon Festival de Barcelona Grec Festspielhaus St Pölten Fondazione Musica per Roma Fondazione Musica per Roma Galway Arts Festival Grand Theatre Luxembourg La Monnaie Brussels Les Nuits de Fourvière/

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Départment du Rhône Les Nuits de Fourvière/ Départment du Rhône Les Théâtres de la Ville de Luxembourg Melbourne Festival Migros Culture Percentage Movimentos Festwochen der Autostadt National Centre for Performing Arts, Beijing Shaolin Cultural Communications Company Théâtre du Jorat, Mézières Théâtre Vidy-Lausanne

Support Sadler’s Wells would like to thank all those who generously supported the theatre’s activities in 2013–14

Individuals Avant-Guardians Anonymous David and Primrose Bell Angela Bernstein CBE Sue Butcher Marco Compagnoni Robin Saunders Ann and Martin Smith The Ulrich family Samuel and Nina Wisnia Major Project Support The Deborah Loeb Brice Foundation Aud Jebsen Simon and Virginia Robertson Artistic Director’s Circle Anonymous David and Torunn Banks William and Judith Bollinger Jules and Cheryl Burns Lloyd and Sarah Dorfman Fameed Khalique Karim and Julie Saddi Season Patrons Paola Bergamaschi-Broyd and Richard Broyd Lauren and Michael Clancy Jack and Linda Keenan Hugues and Emmanuelle Lepic Robin Pauley Denis Shafranik Jonathan and Lucy Wood Sylvie Guillem Farewell Supporters Circle David and Torunn Banks Celeste Fenichel Michael and Claire Francies Jacques and Stephanie Gabillon Abel Halpern and Helen Chung-Halpern Rick and Janeen Haythornthwaite Jack and Linda Keenan Stéphane Lapiquonne Hugues and Emmanuelle Lepic Jan and Michael Topham Vanni and Angela Treves Contemporary Ballet Supporters Circle David and Torunn Banks Sue Butcher Kathleen Crook and James Penturn Celeste Fenichel Charles Glanville Mellissa A. Smith New Production Patrons AKA Alain Airth Enders Analysis Jose and Meg Brena The Robert Gavron Charitable Trust The Medici Terzaghi Family Frank and Helen Neale Simon and Midge Palley The Porter Foundation, Switzerland Helmut Schuster Jan and Michael Topham

Founding Patrons of the Pina Bausch Room Andrew Davenport Celeste Fenichel Frederick’s Abel Halpern and Helen Chung-Halpern Fameed Khalique Stéphane Lapiquonne Simon and Midge Palley Alan Rickman Ann and Martin Smith Constanze von Unruh and Mark Goldman Richard Wilson OBE Project Supporters Aspect Charitable Trust Jennifer Brophy Joyce Kan Carol Lake John and Susan Lazar The Mactaggart Third Fund Mark and Celia Rodrigues Seat Appeal Supporters Kaveh and Cora Sheibani Paul Slawson-Price Jonathan and Lucy Wood Legacy Circle Klara Bloch David and Deborah Botten Mike and Caroline Howes Tony Oakley Estate Ross Roberts Commissioning Patrons Anonymous Ian Anderson Jane Attias G.P. and J.M. Batchelar Justin Bickle Kristina Borsy and Nick Turdean William Boyce Jocelyn Broughton Helen and Martin Buck Nica Burns OBE Andrew Cracknell Aud Cuniberti David Davenport-Firth Cas Donald John DrewittJuliana Farha and Kit Malthouse Stephanie Gabillon Mina Gerowin Herrman and Jeffrey Herrman Christopher Gorman-Evans Piers Fallowfield-Cooper The Richard Grand Foundation Neil Griffiths-Lambeth Lettie Hart Joyce Kan Anne Kauder Latifa Kosta Barrie Legg Alison LeMaire Kit Malthouse Lindy Mason Nancy Miller and Glen Ireland Frances Murphy and Andrew Arends Majella Murphy Altschuler John Nicoll Mr and Mrs C Norton Georgia Oetker Dr Elizabeth Parker Dan Plev Kerri Ratcliffe and Doug Henderson Ross Roberts

Kristina Rogge His Excellency Ghassan I Shakar Kaveh and Cora Sheibani Amanda Sieff Daniela Sieff Wendy Sigle-Rushton Claire Sohn Plev Spine Christopher and Fiona Steane Allen Thomas E.G Tomsett Geoff Westmore and Paula Clemett Opening Night Patrons Anonymous François Aguerre Severine Balick Wilma Basta James Bibby Joanne Black Jenny Brend Peter and Isabel Bristowe Alison Brodie Jennifer Brophy Helen and Martin Buck Maria Bukhtoyarova Gay Christie Geoffrey Collens Sean Cross Amanda Cupples Mindy Davidowski Angela Docherty Maryam Eisler Sarah and Louis Elson Karine Giannamore Robert Glick Edward Grieves Elodie Gruit S Hendry Dominic Houlder and Lukas Kroulik Mike and Caroline Howes Rita Hughes Mr Sajid F. Hussein Esther Isaacs Michael Johnson Linda Kahan Faizal Khan Brendan and Katarzyna Koszut Walsh Sybil and Herbert Kretzmer OBE Maxine Lange Kim Lavely Harry and Fiona MacAuslan Chantelle MacKay Alessandra Masoero David Mathew Joanna McDwyer Koji Moriya Jennifer Noe-Nordberg John Nugent Dave Plummer and Lesley Whitby Peter B Rea Marc Roberts Patricia Rothman Tanya Rousell Anoush Sarkissian-Katz Alastair Sharp David and Dee Dee Simpson Alistair Spalding CBE Stuart Stanley James Stevenson Paula Swift Torsten Thiele Anna Valentine and Jonathan Berger

Margarita Vlahopoulou Kevin Walker and Jay Foley Richard Waller Linda and Stephen Waterhouse Daniel Wood

Corporate

The American Friends David and Melissa Bernstein Matthew and Elissa Bernstein Caroline Cronson Colin and Deirdre McKechnie (Deputy President) Celia Rodrigues (President) and Mark Rodrigues Monica Voldstad

Corporate Sponsors Bennetts Associates Clifford Chance Criterion Ices Limited ERMAK Group Radisson Blu Edwardian Weil, Gotshal & Manges

Performance Members Anonymous Andrew Barnett Jemma Cowley Kendall Duesbury Major Dafydd Edwards Bruce Hardie Sandrine Jensen Eugene Leahy and Helmert Robbertsen Gerald Lidstone Juliette Morris Helen Mundy Anthony and Alison Nathan Sally Pasmore Andrew Pollard Geraldine Ravet Isla Smith Alison Smyth David Taylor

Corporate Partners American Express Bloomberg

Local Business Members Frederick’s Green & Fortune Moro Ottolenghi Embassies / Government Agencies Anglo-Chilean Society Embassy of Denmark Embassy of Finland Embassy of Iceland Embassy of the Kingdom of the Netherlands Embassy of Sweden Embassy of Spain Flanders House Institute Français du Royaume-Uni Nordic Culture Fund Québec Government Office Royal Norwegian Embassy

Trusts And Foundations Major Supporters and Partners Anonymous The Andrew Lloyd Webber Foundation The Baring Foundation BBC Children in Need Dame Hilda Bracket Trust The Edwin Fox Foundation in memory of Michele Fox Esmée Fairbairn Foundation The Foyle Foundation Garfield Weston Foundation JP Getty Jnr Charitable Trust Jerwood Charitable Foundation John Lyon’s Charity The Leverhulme Trust The Linbury Trust The Mirisch and Lebenheim Charitable Foundation The Monument Trust Paul Hamlyn Foundation Quercus Trust The Sackler Trust Sir Siegmund Warburg’s Voluntary Settlement Tony Oakley Estate The Wolfson Foundation

If you would like to know more about supporting Sadler’s Wells, please contact the Development Office on 020 7863 8134 or development@sadlerswells.com

Supporters and Partners Austin and Hope Pilkington Trust Children & the Arts CHK Charities Limited The D’Oyly Carte Charitable Trust The Garrick Charitable Trust Goethe-Institut London Japan Foundation Millichope Foundation The Royal Victoria Hall Foundation The Worshipful Company of Grocers 53

Sadler’s Wells Staff

Chief Executive and Artistic Director Alistair Spalding CBE Chief Operating Officer Britannia Morton Director of External Affairs & Deputy to the CEO Georgie Shields Director of Artistic Programme Katy Arnander Finance Director Mark Rhodes Executive Producer Suzanne Walker Director of Technical & Production Emma Wilson

Breakin’ Convention Artistic Director, Breakin’ Convention Jonzi D General Manager, Breakin’ Convention Emma Ponsford

Production Accountant Nanette Daniels Assistant Producers Fanny Bannet Sandra Castell-Garcia Producing & Touring Coordinator Isabelle Drummond

Projects Manager, Breakin’ Convention Peter Maniam

Producing & Touring Intern Georgia Kersh

Assistant Producer, Breakin’ Convention Michelle Norton

Marketing, Sales, Press & Development

Digital Communications Officer, Breakin’ Convention Dave Barros

Director of Marketing & Sales Sebastian Cheswright Senior Marketing Manager Sammie Squire

Creative Learning Director of Development Tim Burley Director of Marketing & Sales Sebastian Cheswright Artistic Programmer and Producer, Creative Learning Jane Hackett Director of Community and Engagement Fiona Ross Executive Assistant Amanda Joy

Programming & Creative Learning Director of Artistic Programme Katy Arnander Artistic Programmer & Artist Development Eva Martinez Head of Programme Anneliese Graham

Artistic Programmer and Producer, Creative Learning Jane Hackett NYDC Company Manager Hannah Kirkpatrick Assistant Producer, Creative Learning Zara Rush Projects Manager, Creative Learning Lucy Clarke

Marketing Manager, Touring Lucy White Marketing Officers Sally Daniels Ben Stanley Publications, Digital and Social Media Coordinator Rita Chowdhury

Community and Engagement Manager Natasha Anderson Access Officer Sarah Howard Youth and Community Coordinator Fleur Taylor-Sutton

Development Coordinator, Individual Giving Samuel Doyle Development Coordinator, Capital and Corporate Partnerships Chris Powell

Finance & IT Finance Director Mark Rhodes

Finance Financial Controller Paul Warren Management Accountant Ben Dart Show Accountant Lorne Cuthbert Finance Officer Monisola Samuel Finance Assistant Sheena Patel

IT Press

Marketing Assistant Laura Haynes

Digital Director of Community and Engagement Fiona Ross

Ticket Sales Assistants Virginia Aparicio Naomi Bowen Clare Bracewell Stephanie Brotchie Richard Cross Ryan Epps Brandon Force James Hameed Elspeth Harrison Jack Hudson Tim Hudson Paula Jones Wesley Jones Erika Leonaviciute Kayleigh Llewellyn Ian Marshall Isabelle Mason Amie McBye Grace Nyandoro Paula Patritti Matt Phillips Aine Pullan Rosalind Reeder Samuel Ricketts Nicola Salt Caitriona Shoobridge John Sinclair Cameron Slater Ben Stanley Kate Telfer Tom Walczak

Digital Manager Mark Doerfel Digital Media Officer Robin Clark Web Editor, LondonDance.com Carmel Smith

Head of Press Abigail Desch Press Manager Caroline Ansdell Press Officers Jolene Dyke Agnish Ray

IT Systems & Network Manager Raymond Neequaye IT Systems Administrator Ray Wei Long Ho IT Assistant Ryan Chhangur

Press Office Coordinator Eugénie Dunster Corporate Communications

Digital Information Assistant Clare Evans

Head of IT Kieron Mohindra

Corporate Communications Manager Giulia Ascoli

Visitor Services & Operations Chief Operating Officer Britannia Morton

Ticket Office Human Resources

Projects Manager Robyn Cabaret

Producing & Touring

Programming Co-ordinator Richard Cross

Executive Producer Suzanne Walker

Programming Assistant Amy Welch

Head of Touring Dawn Prentice

Programming Intern Inka Romani Escriva

Producer Ghislaine Granger Russell Maliphant Company Producer Eleanor Hartwell Technical Production Manager Adam Carrée

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Ticket Sales & Services Manager Zahir Jaffer Ticketing Services Support Specialist Bruce Moore Ticket Office Supervisors Barbara Birch Mark Hammond Abigail Parker Memberships & Ticketing Services Administrator Ritchie Dach

Development Director of Development Tim Burley Development Manager, Trusts & Foundations Terrie McCann Capital Campaigns Manager Miranda Schnitger Manager, Corporate Partnerships David Milsom Individual Giving Manager Anna Clark

Head of HR Clair Kelly HR Manager Lesley Owusu HR Coordinator Rosalind Glass Administrative Apprentice Braham Lyons

Stage Director of Technical & Production Emma Wilson

Sadler’s Wells Theatre Technical Manager Christian Wallace Technical Co-ordinator Tom Hares Senior Technicians Graham Cutting Sam McLeod Colin Wilson Technicians Matthew Coombes Craig Tye Ben Walker Wardrobe Supervisor Miwa Mitsuhashi

The Peacock Technical Manager, The Peacock & Special Events Chris Booth Technicians James Kazwini Adam Washbourne

Lilian Baylis Studio Technical Manager Roman Bezdyk Technician Fraser Thompson-Noble Emily Holmden

Estates Building Services Manager Russell Lynch

Chef de Partie Andrea Zamboni Kitchen Assistant Louis Vinet Catering Operations Manager Justin Rogers Catering Administrator Janet Elliott Bars Supervisors Alessio Colandrea Jolanta Petrauskaite Catering Team Leaders Laura Roberts Nick Swanson General Catering Assistants Karolina Baublyte Natalie Beale Conor Brooks Sean Brooks Cristina Castro Maia Fatima Conde Portero Sonya Crème Alexander De Caires Paige Dehaarte-Wiseman Colin Devaney Amandine Faugere Paulo Guilhenme Matthew Hall Rosalind James Egija Kavecka James McAndrew Fiona Mischel Maria Victoria Moragas Auladell Jodie Ann Nicholson Misha Patel Louis Prier Tisdall Lucy Raffo Manuela Sarcone Raffaella Scotto Di Clemente Miranda Sheehy Tyriquee Solomon Sonia Teape

Operations and Projects Specialist Charlotte Meyer

Events Manager Georgie Smith

Project Coordinator Roger Spence

Events Executive, Corporate Kelly McGibney

Building Services Technicians Yassine Chenaf Richard Emmett Mark Hobson Wayne Lawrence Ghion Mekonnen

Events Executive Alessio Romani

Maintenance Technician, The Peacock Daniel Knapton

Front of House

Catering & Events

House Manager Haroula Lountzi

Head of Catering & Events Zuzana Galikova Development Head Chef Kenny Warren

Events Assistant Pascha Rix

Senior House Manager Marguerite Bullard

Deputy House Managers Dara Brooks Larry Harrison-Mateeba Janine Kaufman

Front of House Sales Administrator Chris Harmer Performance Cashiers Dara Brooks Robert Churchill Chris Harmer Larry Harrison-Mateeba Alex Wood Front of House Assistants Marie-Claire Adriaenessens Josiane Adriaenessens-Gardes Makiko Aoyama Keilah Ashbourne Marta Barszc Lisa Beck Dominic Berry Harry Blain Lachlan Bond Emma Bracewell Jack Bull Lorea Burge Becky Byers Jane Chan Joel Cottrell Helen Doyle Francesca Ellis Barney Evans-Doran Evie Fordham Hannah Forrester Lindsey Fraser Sarah Galbraith Gigi Giannella Lucy Glover Luca Guarnieri Sally Hacking Jacob Hall Anna Harrison Geber Sandoval Heredia Elisabeth Kersey Alice Kilkenny Ewa Lamond Liesbet Lefebure Ljiljana Lemajic Vivien Loh On Yee Lo Claire Marty Katy Mason Leo Mates James McAndrew Robert McDonnell Bond Daniel McFarland Rhiannon Montagu-Harrison Thomas Montagu-Harrison Joel O’Donoghue Andreas Papadopoulos Paula Patritti Thomas Peacock Georgia Redgrave Thomas Reid Rowan Roberts Alessandro Santese Dorit Schwartz Sarah Stanley Caroline Topley Lily Tran Nu Tran Calvert Watson Kat Wieszczek Magda Wieszczek Robert Wilkes Florence Wright Jairo Zaldua

Cultural Venue Operations Apprentices Leke Celaj Maurice Rowan Bishop

Stage Door Receptionist Joann Peek Stage Door Keepers Claudia Adamson Marie-Claire Adriaenessens Mark Duff Ida Hanselaer Ian Marshall Tina Ramdeen Rosannah Smith

Housekeeping & Security Support Services Manager Howard Clark Cleaning & Housekeeping Supervisors Fabian Arias Ken Debidin Cleaning Supervisor, The Peacock Katarzyna Rogulska Cleaners Joshua Aqui Jeffrey Balighot Marino Bathan Fortunato Carian Kelly Dago Jesiel Da Silva Akissi Kouassi Jose Lary Legario Anthony Osagiede Oumar-Florent Sam Mercan Sahin Thayaparan Eliyathamby Sinnathamby Ziegfredo Tanilon Celestin Trah Antonio Villanueva Amani Yoboue

Security Security Officers Marn Singh Mohammed Mulla Katie Torbett Abdul Khan Christian Egbe Barney Netherwood Armend Retkoceri Nii Lartey Darryl Nelson

Senior Chef de Partie Krisztian Kvala

55

Photography Credits

Cover Dancers in Crystal Pite’s Polaris.

Photo: Andrew Lang

Page 19 German Cornejo and Gisela Galeassi in Flames of Desire.

Photo: Tango Fire

Page 3 Sir David Bell.

Photo: Bill Knight

Page 20 Jasmin Vardimon Company’s PARK. Photo: Ben Harries

Page 4 Alistair Spalding CBE. Photo: Hugo Glendinning Pages 8–9 Israel Galván and Akram Khan in TOROBAKA. Photo: Jean Louis Fernandez Page 11 Dancers in Wayne McGregor’s Outlier.

Photo: Andrew Lang Page 12 Dancers in Young Men

by BalletBoyz.

Photo: Hugo Glendinning Page 13 Carys Staton and Russell Maliphant in Maliphant’s Still Current.

Photo: Hugo Glendinning Page 14 English National Ballet, Crystal Costa and Barry Drummond in In The Middle, Somewhat Elevated by William Forsythe.

Photo: ASH Page 16 Dominic North in New Adventures’ Edward Scissorhands.

Photo: Johan Persson Page 17 Wanted Posse performing at Breakin’ Convention 2014.

Photo: Belinda Lawley

56

Page 21 The cast and crew of Havana Rakatan on tour in New York.

Photo: Andrew Lang Pages 24–25 and 27 The 2013–14 National Youth Dance Company in Akram Khan’s Vertical Road.

Photo: Tony Nandi Page 29 Hetain Patel in American Boy. Photo: Hetain Patel Page 30 Alexander Whitley’s The Grit in the Oyster.

Photo: Andrew Lang Page 33 Seeta Patel in Something Then, Something Now. Photo: Stephen Berkeley White Pages 34–35 Jeru the Damaja performing at the Breakin’ Convention Park Jam 2014.

Photo: Paul Hampartsoumian Page 36 Dancers in New Adventures’ Lord of the Flies.

Photo: Simon Turtle Page 39 NYDC dancers rehearsing Akram Khan’s The Rashomon Effect.

Photo: Tony Nandi

Pages 40–41 Sadler’s Wells’ building.

Photo: James Newton Page 43 Ruka Hatua-Saar and Emily Wagner in Karole Armitage’s Life Story.

Photo: Andrew Lang Page 44 Akram Khan and Sylvie Guillem in Sacred Monsters.

Photo: Tristram Kenton Page 47 Sadler’s Well’s foyer

Edited by Giulia Ascoli Designed by Red&White Design Ltd Printed by Pureprint Group